The Killing of a Sacred Deer
Two years ago Yorgos Lanthimos made his English language film debut with The Lobster and cemented his place in the hearts of diehard cinephiles. Now he is back, and reunited with Colin Farrell, in a similarly disjointed story of revenge and morality.
Farrell plays a surgeon who has befriended the son (Barry Keoghan) of a deceased former patient. Farrell’s surgeon has a perfect life with his wife (Nicole Kidman) and two children but the introduction of Keoghan into their lives brings with it a sinister game and drastic consequences.
In any other director’s hands the plot of the film would be a run of the mill thriller but Lanthimos would never be so boring. As with The Lobster all dialogue is delivered in an emotionless deadpan that is increasingly at odds with the events as they unfold. The result is an incredibly creepy and deeply unsettling atmosphere in which I genuinely didn’t know what would happen next. The low energy delivery from Farrell makes any moments of emotional outburst all the more explosive and adds to the overall sense of dread that permeates the film.
As strange a film as you have come to expect from Lanthimos but with a more focussed plot than a lot of his previous work.
The Killing of a Sacred Deer screens at the festival on 13th and 15th October and in UK cinemas from 3rd November 2017.
Debra Winger and Tracy Letts star as a couple whose marriage has run its course. Both have been having long-term affairs (with Aidan Gillen and Melora Walters respectively) and have separately chosen the impending visit of their son as the moment to leave one another. As the big day grows closer the illicit relationships start to feel more and more like hard work and, after an unplanned evening in with a bottle of wine, old sparks start to fly again for the couple.
Winger and Letts beautifully realise a relationship well past its sell by date and then the shock and excitement as the pair start to fall for each other again. The script by writer-director Azazel Jacobs is very clever and beautifully executes flirtation via subtext as the married couple somehow end up seducing one another through their lies about their whereabouts. It’s not often you witness a conversation with at least three layers of understanding to unpick.
There is a lot to love about The Lovers. Don’t underestimate this film, it has a few surprises up its sleeve and one beautiful cover song by Tracey Letts.
The Lovers screens at the festival on 13th, 14th, and 15th October.
Sean Baker blasted into the collective consciousness with his 2015 iPhone-shot debut Tangerine and now follows it up with a more traditionally shot drama surrounding the occupants of a rundown motel in Florida. The motel is named after Cinderella’s castle but the lives of the inhabitants are far from fairytales.
The focus of The Florida Project is six-year-old Moonee (Brooklynn Kimberley Prince) and her painfully young mother (Bria Vinaite). On the surface Moonee has a terrible upbringing; living in poverty with a mother who has to hustle each week to pay rent on a cramped motel room. Moonee is often left to her own devices and has adventures during the day with whatever local kids she can convince to come with her. In reality Moonee is incredibly loved; her mother showers her with attention and tries to bring joy to her life and the motel’s manager (Willem Dafoe) keeps a watchful eye over the pair too.
Both young inexperienced actresses give bold performances in a film that meanders through one summer in their character’s lives. Authenticity is the key to a film like this and The Florida Project positively oozes it, or rather it aggressively spits authenticity in your face.
Funny, uplifting, and heartbreaking.
The Florida Project screens at the festival on 13th and 14th October and opens in UK cinemas on 10th November.
On the Beach at Night Alone
Hong Sang-soo has an incredible rate of work with at least one new film coming out each year. Hong reunites with his now frequent collaborator, and controversial real life love interest, Kim Minhee in a story of the aftermath of a love affair. On the Beach at Night Alone is the story of what happens after the credits have rolled on a typical love story.
Kim plays a woman recovering from a relationship with a married film director, a relationship that oddly mirrors her own with Hong. When reviewing Right Now, Wrong Then two years ago I listed the Hong Sang-soo tropes and while his traditional visual style is present this film is firmly focussed on its female lead and not on a bumbling romantic male.
I don’t Hong has ever been so on the side of the female in his film. Here we spend all our time we Kim, we see her struggling to connect to people, and it is her that embarrasses herself while drunk; a role usually left to a man in a Hong Sang-soo film.
On the Beach at Night Alone feels deeply personal and offers a very intimate portrait of a young woman with a broken heart. Long may the Kim and Hong collaboration continue.
On the Beach at Night Alone screens at the festival on 15th October.